THE CRAIG RUSSO LATIN JAZZ PROJECT - IN THE MIDDLE (2008)

The music comes from the middle of two related, but distinct music cultures: jazz and Afro-Caribbean music. The symbiosis of styles results in a fresh mixture of modern jazz and Afro-Cuban rhythms

Chip McNeill – tenor saxophone (1-3, 6-10), soprano saxophone (4,5)
Tito Carrillo – trumpet (2, 7-10)
Jeff Helgesen – trumpet (1, 3-6)
Chip Stephens – piano
Josh Walden – bass
Craig Russo - drums (2,5,6,9,10), congas (1-5,7-10), güiro, chékere, other percussion (1,3-10) bongo (6)
Jeff Magby – drums (1,3,4,7,8), congas (6), timbales (1,4)
Ricardo Flores – Brazilian percussion on Doña Maria (2)

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review by Fabrizio Ciccarelli for VINILEMANIA.NET

In 2002 Craig Russo gave life to the Latin Jazz Project, presenting a few of the most interesting musicians from the area that encompasses S. Louis and Chicago: the stylistic imprint comes predominantly from the blue notes as much as it does to the Afro-Caribbean, an amalgamation with a modern signature, with what appears to be an intention to explore the creative possibilities that are offered by the two genres.

The percussionist has paved a way in which to be able to enter into contact with such hybrid aesthetics, this is in relation to the period in which has studied in Cuba under the maestros such as Enrique Pla and Roberto Vizcaino, who have behind them twenty good years of jazz experience with various groups in the mid-western states and from the East coast of the U.S.A. (from which comes the motive behind the album title).

For the realisation of this project - as well as calling himself - among the others we can find players such as Chip McNeill on the tenor sax (already with Maynard Ferguson and Arturo Sandoval), Chip Stevens on the piano (Michael Brecker and Bobby Watson), the trumpeters Jeff Hegelsen (Ray Charles Orchestra) and Tito Carrillo (Kurt Elling and Tito Puente): a choice – among many of the many Latin that are emerging not only in the United States but all over the world - that also distinguishes itself by a way of an expressive strength and musical maturity.

The 10 tracks present an original phrasing, elegant solos of a timbric bop, combinations of weaving rapids, syncopated rhythms that are played opportunistically between the improvisations of the brass, and when they provide the chromatic and introspective light and free interpretations to the melody: the ability to run along with these ideas that are more complex from a creative side of things demonstrate and put on show a connection with the “blues” tradition, add onto this a background of Latin accents that allow the band to “see” the pentagram’s from a singular prospective, all this add to a feeling which is overall just a feeling of great pleasure.

From the rest of what is presented here the tracks would seem to reveal an even more ingenious side of  the L.J.P., in relation to the selection of the compositions that are a little less common, and certainly not always noted, it offers articulation towards ideas that are somewhat less than usual but which also lay down the law with their lyrics, solar in their rapid dispersal of notes, in the all intensive bop, in the bluesy attitude of the distinct execution between the various textures from the harmonic side of the works, second only to an intelligent style, professional - and as much open as it is interesting. It re-reads out aloud to us its standards: such as in “I’m getting sentimental over you”, almost reinventing the mambo style, or in “Pent-up House” by Sonny Rollins, or, with an all Caribbean soul in “Bésame mucho” by Consuelo Velazquez.

Craig Russo states, in the covering notes, to have had the privilege of playing with "a group of extraordinary soloists that, through multiple modes, have taken all of their deepest interpretations and have filled this with creativity", such a collaboration, in the opinion of who writes this, leaves a tempestic dimension of good taste and, of Craig, an elegant timing, a rhythmic tactus that is everything else but aggressive, personally and clear in its refinement.

recensione di Fabrizio Ciccarelli per VINILEMANIA.NET

Nel 2002 Craig Russo dà vita al Latin Jazz Project presentando alcuni tra i più interessanti musicisti dell’area compresa fra S.Louis e Chicago: l’impronta stilistica proviene dalle blue notes quanto dall’afro-caraibico, un amalgama di segno moderno, con l’intenzione di esplorare le possibilità creative offerte dai due generi.

Il percussionista ha avuto modo di entrare in contatto con tale estetica ibrida nel periodo in cui ha studiato a Cuba con maestri quali Enrique Pla e Roberto Vizcaino, avendo alle spalle un’esperienza jazzistica ventennale con vari gruppi negli Stati medio-occidentali e della Costa dell’Est degli U.S.A. (da cui il motivo del titolo dell’album).

Per la realizzazione del progetto chiama a sé, fra gli altri, Chip McNeill al sax tenore (già con Maynard Ferguson e Arturo Sandoval), Chip Stevens al piano (Michael Brecker e Bobby Watson), i trombettisti Jeff Hegelsen (Ray Charles Orchestra) e Tito Carrillo (Kurt Elling e Tito Puente): una scelta – fra le tante di Latin che stanno emergendo non solo negli Stati Uniti ma in tutto il  mondo – che si distingue per forza espressiva e maturità musicale.

I 10 brani presentano un phrasing originale, eleganti assoli di timbro bop, combinazioni di intrecci rapidi, ritmi sincopati opportunamente giocati fra le improvvisazioni degli ottoni, anche quando si fanno luce cromatismi introspettivi e libere interpretazioni della melodia: l’abilità nel percorrere le idee più complesse dal lato creativo mostra un netto collegamento con la tradizione “blue”, su di uno sfondo di accenti latini che consentono alla band di “vedere” i pentagrammi da una prospettiva singolare e di grande piacevolezza.

Del resto la stessa scelta dei brani sembrerebbe rivelare uno dei lati più ingegnosi del L.J.P., in quanto la selezione di composizioni meno comuni, non così note, offre articolazioni verso idee  meno consuete dettate da una sensibilità lirica, solare nelle rapide folate di note, nell’intensità tutta bop, negli atteggiamenti bluesy di esecuzioni distinte da tessiture varianti dal lato armonico, secondo uno stile intelligente, professionale e quanto mai aperto soprattutto nelle interessanti riletture di standards: così in “I’m getting sentimental over you”, quasi reinventato in stile mambo, o in “Pent-up House” di Sonny Rollins, o, con anima tutta caraibica, in “Bésame mucho” di Consuelo Velazquez.

Craig Russo  dichiara, nelle note di copertina, di aver avuto il privilegio di suonare con “un gruppo straordinario di solisti che, attraverso modi multipli, ha portato tutta la propria profondità interpretativa e l’ampiezza della propria creatività”; tale collaborazione, a parere di chi scrive, lascia di sé una dimensione atemporale di buon gusto, e, di Craig, un timing elegante, un tactus ritmico tutt’altro che aggressivo, personale e di nitida raffinatezza.    

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